I moved to New York in 1963 and first worked for Paragon Needlecraft, a division of National Paragon Corporation. I started out as a clerk, then became a design assistant, then Director of Customer Relations. My last years there were spent as a Vice President in the capacity of Director of Licensing and Art Director of the “How-To” Needlecraft Book Department.”
Paragon Needlecraft manufactured needlecraft kits (packaging that included fabric, yarn and or thread, along with instructions and diagrams), open-stock tablecloths, and “how-to” instruction booklets. As a V.P. of the company, I wore 2 hats: Director of Licensing and Director of the “How-To” book department. In those capacities, I was responsible for the production and publication of various needlework technique booklets: counted-cross, knit-and crochet, counted lace work, and other techniques — each utilizing highly popular characters, famous paintings, and museum pieces, via license agreements that I’d secured with the respective licensors for their properties: Disney characters; Donald Duck and other Looney Tunes; Sesame Street characters; Care Bears; Holly Hobbie; Van Gogh paintings from The Van Gogh Museum in Amsterdam; Grandma Moses paintings from The Grandma Moses Museum in Bennington,Vermont; antique museum samplers from The Cooper Hewitt Museum in Manhattan, New York; embroideries and fabric design elements from The Brooklyn Museum; Hummel Figurines from the lincensor, Ars Sacra, in Munich Germany…and many more properties. All interpreted/ translated into a particular needlework technique — the end result photographed in full color and given a full page (or two) in the “How-To” book, along with the instructions, instruction charts, and list of yarns and or embroidery thread to be purchased separately. Many of these booklets are still sold today, via the internet.
In 1987, I left Paragon Needlecraft and started up an Event Planning Company with my husband — a company in which I am still an active partner.
I began writing poetry January 1999, and became accomplished in early on, having been tutored by some fine New York poets, privately, and also in workshops and classes. Two of my favorite instructors, Rachel Wetzsteon and Sarah Hannah have since passed, but their poetry lives on inspiring my work and that of the poetry community at large. In October 2006, my poem “on yet another birthday” was nominated for a Pushcart prize by Ibbetston Street Magazine. And, In March 2010, I created a poetry book publishing company (Paragon Poetry Press, Inc.)
As poet and author, my body of work includes poems published in literary journals and poetry anthologies throughout the U.S., and also in Canada, Greece, India, Israel, Romania, and the U.K. Finishing Line Press is the publisher of my chapbook book “Facing Home;” Paragon Poetry Press, Inc. published my other 3 books: “Facing Home and Beyond” “little, but by no means small” and “Food: Nature vs Nurture.”
“Facing Home” and “Facing Home and Beyond” can be bought online from amazon.com and barnesandnoble.com; all 4 books can be purchased directly from the publisher, via e-mail: paragonpoetry(at)aol.com.
Additionally, several of the needlecraft books I authored in the 1980′s and 1990′s are still circulating in the market place — for purchase via the Internet.
My poems have appeared in the following publications:
And Again Last Night; A World Rediscovered;Common Boundary; Contemporary Verse of Myths, Fairy Tales and Legends; Crab Line Off The Pier; Crossing the River: Empty Shoes; Global Fusion Voices; Harvests of New Millennium; Long Island Sounds; Mizmor L’David Anthology Volume I: The Shoa; Overdone/ Underplay; Pain and Memory; PAUMANOK 11: Poems and Pictures of Long Island; Perspectives 2; primal sanities! a Tribute to Walt Whitman; Rhyme & PUNishment; Songs of Seasoned Women; Spectral Lines ; The Blinking Anthology; The Book of Ten; The Vital Principle; Toward Forgiveness; (Un)Occupy Movement:Autonomy of Consciousness, Practical Solutions, Human Equality; Voices Israel (2008, 2009, 2010); Whispers & Shouts…and more.
Adagio Verse Quarterly; The Aurorean; Birmingham Poetry Review; Breadcrumb Scabs; Chum Literary Magazine; Chronogram Magazine; Creations Magazine; Connecticut Review; Earth’s Daughters; Dawntreader (U.K.); Ibbetson Street; Jabberwock Review; Lilith Magazine; Medusa’s Laugh Press; Mobius-The Poetry Magazine; Pacific Review; Phati’tude; Poetica; Poetry Depth Quarterly; Punkin House Digest; Reach (U.K.); Sarasvati (U.K.); Southampton Review; SubTerrain (Canada); Taj Mahal Review (India); Vallum (CA); The Wormwood Press; you are here/University of Arizona Journal of Creative Geography; Walt’s Corner/LI Quarterly…and more.
Canopic Jar; Cyclamens & Swords (Israel); EMG-Zine; First Literary Review; Magnapoets; Magnolia’s Press; Message in a Bottle (U.K.); Menopause Press; Mung Being; Pandora’s Imagination; Podium/92nd Street Y; Quill & Parchment; Blinking Cursor; The Human Genre Project (U.K.); Vapid Kitten (CA)…and more.
Jendi Reiter, of Winning Writers, posted the review on 11/26/2010 2:52 PM — under the heading “Book Reviews, Great Poems Online.”
Ruth Sabath Rosenthal’s poetry chapbook “Facing Home” has just been released by Finishing Line Press. As the title suggests, these frank and emotionally charged poems are about facing memories of the home we grew up in, as well as the homes that we as adults have made, broken, and re-formed. Rosenthal’s accessible writing style balances humor, anger, and compassion. She employs enough specific details from her own life to make the memories feel real, while staying focused on universal themes that will resonate with many readers. Some of her strongest work is about the complex feelings involved in caring for elderly parents who were emotionally unavailable to her as a child.
I am a contributor to 2 anthologies published by Editions Bibliotekos, and Rachel L. Kaminsky reviewed my poetry book “Facing Home and Beyond” at their request. (see excerpt below)
(Rachel L. Kaminsky, a graduate of St. Francis College and Fordham University’s
Master of Arts in English with a writing concentration Program)
Ruth Sabath Rosenthal’s first full-length book of poems, “Facing Home and Beyond,” delves deep into the often complicated facets of relationships between husbands and wives, as well as parents and children, which can produce paradoxical experiences of heartache and pleasure. Although Rosenthal’s poems appear highly personal, they also contain universal truths, such as, feelings of pain and nostalgia will often be felt after a loved one is no longer a present figure in one’s life. It is these feelings that anchor her poems into a subject matter that allows for healing and renewal after loss is experienced within relationship.
The speakers of Rosenthal’s poems use people, places and objects in order to invoke memories that hold a new significance when reflected on in the present. For example, in the poem “Her Father’s Eyes,” a “crease” in the “fedora” the speaker’s father once wore, as well as the “…Sunday shine on his shoes,” are used to contrast his characteristics, which she’ll never experience: “eyes that never looked into hers.” In the second stanza, the speaker states that if her father had looked into her eyes, and “…gleaned her smile…” would this “have stopped him from passing her by?”
As Rosenthal poignantly states in “Falling in My Neck of the Woods”: “Today’s New York Times, yesterday’s trees. Branches stir. Petals fall. Summer.” The above poems are found in section II, appropriately titled, Course of Hourglass Sand. However, I find that in every section time and memory figures prominently, particularly in those poems that deal with the physical and emotional decline of a loved one.